[考研类试卷]考研英语模拟试卷239及答案与解析.doc
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1、考研英语模拟试卷 239及答案与解析 一、 Section I Use of English Directions: Read the following text. Choose the best word(s) for each numbered blank and mark A, B, C or D. (10 points) 1 The molecules of carbon dioxide in the Earths atmosphere affect the heat balance of the Earth by acting as a one-way screen. (1)_ t
2、hese molecules allow radiation at visible wavelengths, where most of the energy of sunlight is concerned, to pass (2)_, they absorb some of the longer-wave length, infrared emissions radiated from the Earths surface, radiation that would (3)_ be transmitted back into space. For the Earth to maintain
3、 a constant average temperature, such emissions from the planet must (4)_ incoming solar radiation. If there were no carbon dioxide in the atmosphere, heat would (5)_ from the Earth much more easily. Today, (6)_, the potential problem is too much carbon dioxide. Could the increase in carbon dioxide
4、(7)_ a global rise in average temperature, and could such a rise have serious (8)_ for human society? Mathematical models that allow us to calculate the rise in temperature as a function of the increase (9)_ that the (10)_ is probably yes. One mathematical model (11)_ that doubling the atmospheric c
5、arbon dioxide would raise the global mean surface temperature by 2.5 . This model assumes that the atmospheres relative humidity remains constant and the temperature decreases with altitude at a (12)_ of 6.5 per kilometer. The assumption of constant relative humidity is important, because water vapo
6、r in the atmosphere is another (13)_ absorber or radiation at infrared wavelengths. Because warm air can hold more (14)_ than cool air, the relative humidity will be constant (15)_ the amount of water vapor in the atmosphere increases (16)_ the temperature rises. (17)_, more infrared radiation would
7、 be absorbed and reradiated (18)_ to the Earths surface. The resultant warming at the surface could be expected to melt snow and ice, (19)_ the Earths reflectivity. More solar radiation would be absorbed, (20)_ to a further increase in temperature. ( A) Whereas ( B) If ( C) Although ( D) Because ( A
8、) for ( B) down ( C) by ( D) through ( A) otherwise ( B) nevertheless ( C) indeed ( D) somewhat ( A) assign ( B) equalize ( C) diffuse ( D) prepare ( A) avoid ( B) escape ( C) influence ( D) prevent ( A) indeed ( B) hence ( C) anyway ( D) however ( A) cause ( B) turn ( C) make ( D) leave ( A) conque
9、st ( B) outcome ( C) consequence ( D) compromise ( A) reflect ( B) display ( C) mark ( D) indicate ( A) response ( B) answer ( C) reaction ( D) solution ( A) discovers ( B) predicts ( C) proves ( D) confirms ( A) pace ( B) speed ( C) ratio ( D) rate ( A) competent ( B) effective ( C) efficient ( D)
10、sufficient ( A) moisture ( B) weight ( C) dimension ( D) compound ( A) if only ( B) as if ( C) only if ( D) even if ( A) since ( B) unless ( C) for ( D) as ( A) Likewise ( B) Therefore ( C) Instead ( D) Moreover ( A) back ( B) off ( C) on ( D) in ( A) contracting ( B) condensing ( C) reducing ( D) i
11、ntensifying ( A) leading ( B) coming ( C) amounting ( D) adding Part A Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D. (40 points) 21 The history of responses to the work of the artist Sandro Botticelli (1444 1510) suggests that widespread ap
12、preciation by critics is a relatively recent phenomenon. Writing in 1550, Vasari expressed an unease with Botticellis work, admitting that the artist fitted awkwardly into his evolutionary scheme of the history of art. Over the next two centuries, academic art historians defamed Botticelli in favor
13、of his fellows Florentine, Michelangelo. Even when anti-academic art historians of the early nineteenth century rejected many of the standards of evaluation adopted by their predecessors, Botticellis work remained outside of accepted taste, pleasing neither amateur observers nor connoisseurs. (Many
14、of his best paintings, however, remained hidden away in obscure churches and private homes). The primary reason for Botticellis unpopularity is not difficult to understand: most observers, up until the mid-nineteenth century, did not consider him to be noteworthy, because his work, for the most part
15、, did not seem to these observers to exhibit the traditional characteristics of fifteenth-century Florentine art. For example, Botticelli rarely employed the technique of strict perspective and, unlike Michelangelo, never used chiaroscuro. Another reason for Botticellis unpopularity may have been th
16、at his attitude toward the style of classical art was very different from that of his contemporaries. Although he was thoroughly exposed to classical art, he showed little interest in borrowing from the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjects adopt
17、ed a style that was only slightly similar to that of classical art. In any ease, when viewers began to examine more closely the relationship of Botticellis work to the tradition of fifteenth-century Florentine art, his reputation began to grow. Analyses and assessments of Botticelli made between 185
18、0 and 1870 by the artists of the Pre-Raphaelite movement, as well as by the writer Pater (although he, unfortunately, based his assessment on an incorrect analysis of Botticellis personality), inspired a new appreciation of Botticelli throughout the English-speaking world. Yet Botticellis work, espe
19、cially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Home in 1908. Home rightly demonstrated that the frescoes shared important features with paintings by other fifteenth-century Florentines features such as sk
20、illful representation of anatomical proportions, and of the human figure in motion. However, Home argued that Botticelli did not treat these qualities as ends in themselves rather, that he emphasized clear depletion of a story, a unique achievement and one that made the traditional Florentine qualit
21、ies less central. Because of Homes emphasis crucial to any study of art, the twentieth century has come to appreciate Botticellis achievements. 21 Which of the following would be the best title for the text? ( A) The Role of Standard Art Analyses and Appraisals. ( B) Sandro Botticelli: From Rejectio
22、n to Appreciation. ( C) Causes for Botticellis Rejection in Earlier Times. ( D) Botticelli and Florentine: A Comparative Study. 22 We can learn from the text that art critics have a history of ( A) suppressing painters art initiatives. ( B) favoring a Botticellis best paintings. ( C) rejecting tradi
23、tional art characteristics. ( D) undervaluing Botticellis achievements. 23 The views of Vasari and Home on Botticellis products are ( A) identical. ( B) complementary. ( C) opposite. ( D) similar. 24 The word “connoisseurs“ (Paragraph 1) most probably means ( A) representatives in the Pre-Raphaelite
24、 Movement. ( B) people who are in favor of Florentine. ( C) critics who are likely to make assessments. ( D) conservatives clinging to classical art. 25 What does the author think of Botticellis representation skills? ( A) They are to be fully appreciated. ( B) They evolve from an uncertain source.
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